August 29, 2009

August 27, 2009

by Zeke Turner | 9:25 am, August 27th, 2009 ~Earlier this week, the new owners of Vibe magazineintroduced their editor in chief, Jermaine Hall, the man who will be charged with transforming the title, which was shuttered in July, into a bimonthly with a ramped up online presence. But Hall, who got his start at Vibe as an intern during college and most recently held the top spot at King magazine, another recently closed magazine geared towards a black/urban audience, isn’t intimidated in the least. In fact he’s excited to ‘broaden the bin,’ and go after an ASME or two. We spoke with him on the day after his new job was announced. See a slideshow of Jermaine Hall’s favorite Vibe covers of all time here. Have you been intimidated at all by the task of reinventing, reimagining Vibe? As far as being intimidated … I’ve always been very confident about anything dealing with editorial, so I’m definitely not intimidated.

Actually, as I said before, I’m very excited. I love all the eras of Vibe but one of my favorite eras is Alan Light’s tenure [1994-1997] — the book was at its broadest during that time. I’m looking to recapture that feel, but bring it up to date. Has it been of comfort to you that you’re working with other Vibe alumni like Len Burnett? It’s like having a Jedi to guide you through your travels — stories that they can tell, the mistakes that they’ve seen. The thing I love the most is to be able to throw an idea out there and have Len come back and say ‘maybe you should think about it this way.’ There’s a lot of back and forth, and eventually we get on the same page. I also want to bring Brett Wright into that conversation as well because he’s obviously a very important part of what’s going on right now.

Brett Wright told the Times that he hasn’t talked to Quincy Jones recently. Have you?

I have not talked to Quincy Jones.

Do you have any idea what he meant when he said, “They messed my magazine all up”?

[laughs] Quincy’s an icon — you have to respect that he had the vision to create a product like that. As far as messing up the product, I think that Vibe has done a good job of documenting the culture for the last 16 years. I wouldn’t say that the product has been messed up.

Have you heard any rumors saying that Vibe went astray becuase there were so many white people involved on the corporate level?

I haven’t heard that.

You were the webmaster at Vibe from 1997 to 1999. How much did you feel like you knew what you were doing, preparing content for readers online?

Here’s the thing that we did know back then: We knew that we had the capability to provide immediate information. You can get things up on the web every minute of every day. Back then that was a problem for a lot of magazines and their web properties. A lot of editors didn’t really understand the value of online yet. The thinking was that if you give it to them online, then they won’t want to read it in print, rather than using online to push the magazine.

How hard do you think it’s going to be to get Vibe readers to come to a property that’s primarily online? Or will you (the magazine) really be the ones catching up with them (the readers)?

The previous regime did a very good job of trying to acclimate the reader online — they put a lot of emphasis in book, trying to get people to read stories in the book and also relay them to the website. And also you have to keep in mind that the magazine is not going away. It will come out once this year and probably six times next year. It’s not like that part of it is totally going away.

How does it feel going from the top spot at King, one magazine that just closed, to another magazine that just closed and is now relaunching? Do you feel like you’re in no-man’s land?

No, I feel really great. I feel really, really inspired. I started as an intern at Vibe my last year at grad school. My first job in the industry was at Vibe.com, so this is a coming-home story for me. I’m also very excited. We’re going to broaden the scope of the magazine — inject some Hollywood coverage, expand the music scope, cover sports — really make a conscious effort to broaden the bin and not have it be so music-slash–hip-hop specific.

It seems like the thinking is — between Uptown and Vibe — that you all want to create lifestlye titles, not vertical-niche, music titles. It’s anchored by the music, but there’s so many different tentacles to urban culture and urban lifestlye so we want to make sure that we’re covering all of that for the reader. Another thing that’s going to be bigger for us is that we’re going to provide service pieces to the reader. I feel like everybody likes to be told what to do these days. Magazine and online properties are really good places to teach people how to do stuff. CONTINUE READING...

August 26, 2009

August 26, 2009 - Brooklyn, NY) Bay Area-based MYX Music Label is proud to announce the signing of One Be Lo for his newest album, B.A.B.Y. The album, set for a February 2010 release, includes features from Royce Da 5'9, Freeway, Zion I, Phonte, Jean Grae, and more. The partnership with the Bay Area label is a new step for One Be
Lo, and one the Pontiac, Michigan emcee looks forward to. One Be Lo
says, "I'm excited to get MYX Music Label involved with this next album
- it already feels more like a family than a business. I've recorded
and toured with Karim in the past, so I know he understands the artist
perspective. MYX is an up-and-coming label that understands how to
market records in today's media." One Be Lo's new album, B.A.B.Y. (an acronym meaning Being A Black Youth),
is not only autobiographical of the rapper as a youth in Pontiac
Michigan, but focuses on the many experiences in school, amongst peers,
family, the army, crime, and much more all across America, and is a
multi-media project encompassing music, film, books, clothing, and toys.
For MYX Music Label head Karim Panni, signing
One Be Lo is also an exciting development and a welcome addition as the
label continues to assert itself as one of the premier, rising
independent hip-hop labels. Panni says, "We're honored to be able to
add One Be Lo to the MYX Music Label squad. B.A.B.Y. is a
gigantic record, and Lo is making the most important music of his
career. His grind and track record speaks for itself. We're really
trying to build up a roster of people making great music - hip-hop that
can stand the test of time. Music that makes a difference, and One Be
Lo fits that mold."
One Be Lo first hit the hip-hop scene in the late '90s as OneManArmy, one half of the short-lived yet critically acclaimed duo Binary Star. Many regard Binary Star's second LP, Masters of the Universe,
as an underground classic - the album sold over 30,000 units
independently and can be found today on eBay for upwards of $350. In
2005, One Be Lo resurfaced on Fat Beats Records as a bona fide solo artist with S.O.N.O.G.R.A.M. The
album moved over 22,000 copies, becoming one of the year's most
successful independent hip-hop releases. In 2007, One Be Lo released
his sophomore LP as a solo artist, titled R.E.B.I.R.T.H., with a host of big-name producers ranging from Jake One to Vitamin D. One Be Lo has shared the stage with hip-hop giants KRS-One, Rakim, and the Wu-Tang Clan, and has toured the nation with Brother Ali, Soul Position, and Zion I. In 2010, One Be Lo looks to continue an already successful independent career with his new album, B.A.B.Y., which will be released February 2010 via MYX Music Label.

There are few people who have achieved the success of Booker T. Mattison and managed to remain as humble and appreciative as he is. He is the author of the novel UNSIGNED HYPE as
well as a filmmaker who wrote the screenplay for and directed the film
adaptation of Zora Neale Hurston's "The Gilded Six Bits," which aired
on Showtime. His films have been screened at the Smithsonian Institute,
the Library of Congress, the Directors Guild of America , and Harvard
University . Music videos that he has written and directed have aired
on BET, MTV Europe, and the Gospel Music Channel.

Mattison's novel UNSIGNED HYPE has been chosen as the Book of the Month for the Hip Hop and Books Club during September 2009. ( Listen to author Booker T. Mattison's recent interview with Conversations LIVE! Radio here.)Thank
you, Booker T., for taking out the time to talk with us today. Before
we talk about your debut novel UNSIGNED HYPE I want to talk about you.
How would you describe who Booker T. Mattison is?I am an author and filmmaker, but more importantly I am a professional husband and father.

You have been busy working in music and even film. What led you to writing the book?Believe
it or not, the opportunity to write this book kind of fell in my lap. A
publisher friend of my literary agent asked her if she could find a
story with a teenaged black male protagonist that wasn't all about sex,
violence and drugs. My agent asked me if I could write it because all
of her other writers are women. Even though we didn't wind up going
with that publisher, once the story was birthed it was ready to find an
audience.

Is reading something that you enjoyed growing up? I
have always enjoyed reading. I'm thankful that my mother and father
emphasized the importance of reading, and education in general. It's
difficult to develop an appreciation for books if you're not introduced
to them at a young age.

You happened to weave together
a story where the characters dealt with their own personal demons as
well as external forces. What led to your writing this story? Since
I'm a former rapper, producer and ex-knuckle head, the story flowed out
of many of my own personal experiences. I think that's why the
characters in the book resonate with so many people. Essentially, each
character in the book represents an aspect of my life or a particular
part of my personality.

You talk about being a proud
father. When we talked on Conversations LIVE! Radio not too long ago I
didn't ask you about the legacy you wanted to leave for your children.
When they read the book, what do you hope they think of when it comes
to who wrote it?I want them to remember that their father
was a man of integrity, a man of character and a man who embraced truth
no matter what the cost. I also want them to recognize the importance
of using their God given talents to promote a point of view that is
consistent with how God views the world.

By Kimberley K. McLeod ~ It’s your typical hip-hop and R&B video. Scantily clad women. An
outdoor pool. Champagne bottles. Lesbians. Yes, lesbians. These women
may not be your typical idea of a music video cameo, but it’s becoming
more common for male R&B and hip-hop artists to sing and rap about
discovering their girlfriends with other women. In their songs these
men aren’t upset about the adulterous discovery; on the contrary, they
are requesting (or demanding) that their girlfriends include them!

This male fascination with lesbian and bisexual women is nothing new
and certainly not exclusive to hip-hop and R&B. More recent songs
by artists, including Omarion (“Think My Girl Is”), Lil’ Wayne and Drake (“Every Girl”) and Ray Lavender (“My Girl Got A Girlfriend”), can now be added to the playlist of songs that mention women being both attracted to and intimate with other women.

While women (and men) have been critical of hip-hop’s more blatant
lyrics and videos that objectify women, some don’t seem to be up in
arms about its portrayal of same-sex relations.

Akiwumi adds that the women portrayed in these videos do not reflect
the type of women she dates so she is unaffected by their depiction.
“Some girls are open to that – whether gay or straight – you know the
whole ménage [á trios], fulfilling guys’ fantasy type of thing. I just
date girls that are into girls,” Akiwumi says.

But should women be concerned about lyrics that declare, “Havin’ two
chicks is better than no chicks/I’d rather just join in/Keep my girl
and keep the other one too?” Natasha Forrester, a 21-year-old from New
York City who considers herself heterosexual, believes they should be.

“Whether the women are gay or straight does not matter. The problem
is that they are being objectified and hypersexualized,” Forrester says. CONTINUE READING...

EXCERPT FROM CLUTCH ONLINE.COM ~ The controversyover whether recording artist Usher’s estranged wife Tameka Foster plagiarized when she wrote an opinion piece for the Huffington Post is symbolic of the squabbles that plague African-Americans in general.

Foster wrote a blog post called “She’s Pretty for a Dark-Skinned Girl”
for Hufpo last week that garnered much attention and praise. Not only
did the piece show her to be a down-to-earth and strong-minded black
woman, but underscored the hurt she has felt as wife to a
multi-generational superstar.

But, according to one woman, it exposed Foster to be something else: A thief.

Days after the work was posted, author Aisha Curry who wrote a book called “Pretty for a Black Girl” claimed that Foster’s piece had stolen whole passages from her work. CONTINUE READING...

On the cover of the new "Historical Dictionary of African American
Theater" is a glossy photograph of two young, strikingly attractive
actors, Sidney Poitier and Ruby Dee, in a scene from the landmark black
drama "A Raisin in the Sun," by Lorraine Hansberry.

But flip through this chunky, 500-plus-page volume compiled by two
Seattle natives, and you'll find so much more on the subject at hand —
from the stage credits of other black movie stars to the efforts of
pre-Civil War African Americans to integrate our nation's theatrical
life.

Along with an introductory essay and a timeline, the volume contains
some 600 entries devoted to performers, playwrights, directors,
designers, composers, companies and others engaged in black theater in
the U.S. from the early 1800s to the present day.

Published by Scarecrow Press, the reference book is the product of
the intensive research of Seattle-bred Anthony D. Hill, associate
professor of theater at Ohio State University, and Douglas Q. Barnett,
who amid the fervent civil-rights activism of the late 1960s helped
start the Seattle African-American troupe Black Arts/West.

A retired theater producer, director and administrator, Barnett, 78,
chatted over coffee recently at a cafe near his Capitol Hill apartment
about the project that has absorbed him for the past two years.

In some ways, the historical perspective came naturally to Barnett:
He was raised with a keen awareness of the historical contributions of
African Americans.

"The Barnetts are a pioneering family," he noted proudly, pointing
out that his paternal grandfather came to Washington state in 1888,
when it was still a territory.

And Barnett's father, the late Powell Barnett, was a respected
Seattle civic leader and social activist. A recently renovated city
park and playground on Martin Luther King Jr. Way, is named in his
honor, in recognition of his service as the first president of the
Leschi Improvement Council. CONTINUE READING...

By Clay Cane Author and
musician Tim’m T. West talks about being an
HIV-positive rapper, educating gay youths, his
successful music career, and what he’d trade it
all for.

Tim’m T.
West revolutionizes nearly everything he touches. From his
2003 book, Red Dirt Revival: A Poetic Memoir in 6
Breaths, to his newest hip-hop album, In
Security: The Golden Error, the 37-year-old
Renaissance dude is relentless on his path of art,
education, and truth.

West has many
identities: Southerner, black, author, poet, rapper, gay,
and HIV-positive among them. A confident, talented, and
respected figure in both activism and art, West is the
keynote speaker at the National Association of People
With AIDS Positive Youth Institute in Denver August
13-14. In addition, he has a full-time gig as an
intervention specialist at the Fusion Center in Houston,
which works primarily with African-American men, ages
16 to 24, who have sex with men. Somehow he manages to
squeeze in music, books, and an appearance in the
Mario Van Peebles documentary on black male icons, Bring
Your ‘A’ Game.

West sat down
with Advocate.com to talk about his music, living with HIV,
and educating gay youths.

Advocate.com:You’ve released several hip-hop albums over the
years, and your latest is In Security: The Golden
Error. Do you have any desire to be mainstream?Tim’m T. West: Yes and no. Yes, in the fact
that I think I do really good work. I feel like my work is
good enough to be heard by larger populations of
people. In that sense, I would like for the messages
to get out there. A song like "Positive," where I talk
about my HIV status and I use being positive, which can
apply to you if you're HIV-positive but can also apply
if you are just trying to live life in a positive
light. To that extent, I would like to be mainstream.
Realistically, I understand the compromises that might need
to be made in order for that to happen. I’m not
willing to be closeted about my HIV status, sexuality,
or my political opinions. To that extent, it's a
marketing risk for some people who are trying to promote
projects. At the same time, I’m kind of hopeful
that somebody may catch wind of the music I've done
and go, "Hey, I think this guy would be really good for
hip-hop right now." I’m actually moving toward jazz
albums here on out [laughs]. So I’m
moving in some different directions.

The song “Positive” is on your last album,
Blakkboy Blue(s). Before you were
HIV-positive, what was your perception of being HIV-positive? I was one of those people who did a lot of HIV
and AIDS outreach. I had an awareness; I dated a few
people who were HIV-positive. I definitely had a
healthy and positive approach about people who were
positive. Interestingly enough, it wasn't a positive
person who infected me; it was someone who was
"negative." I think some of the paranoia and fear
driven HIV prevention efforts are not really useful. Fear
never keeps anybody from preventing themselves from
getting HIV. I think some real talk about sex and
choices is a better approach. I’m able to deal with
my HIV status a lot better because I didn't demonize
positive people. You can only imagine people who
talked negatively about HIV-positive people -- what
happens when they become positive? Do they then turn those
same messages on themselves? It can be this downward
spiral if you’ve told yourself all along that
people with HIV aren't worthy of being loved.

Sen. Edward M. Kennedy, longtime Democratic senator and the patriarch
of the Kennedy political family, has died after a lengthy battle with
brain cancer.
The Kennedy family released a statement early Wednesday morning saying,
"Edward M. Kennedy – the husband, father, grandfather, brother and
uncle we loved so deeply – died late Tuesday night at home in Hyannis
Port. We've lost the irreplaceable center of our family and joyous
light in our lives, but the inspiration of his faith, optimism, and
perseverance will live on in our hearts forever. We thank everyone who
gave him care and support over this last year, and everyone who stood
with him for so many years in his tireless march for progress toward
justice, fairness and opportunity for all. He loved this country and
devoted his life to serving it. He always believed that our best days
were still ahead, but it's hard to imagine any of them without him."

In recent weeks, Kennedy had received the Presidential Medal of Freedom from President Obama, and his sister, Eunice Kennedy Shriver,
died. News came last week that the senator had sent a letter to the
governor of Massachusetts, asking that he work to change the state's
laws of succession to fill his Senate seat quickly through a direct
appointment, rather than through a lengthier special election process.
Kennedy's letter, as well as his absence from the White House Medal of
Freedom ceremony and his sister's funeral, fueled speculation that his
health condition was grave.

(New York – Monday, August
24, 2009) – Leona
Lewis who took the music world by storm with the release
of her 2008 debut album Spirit
announces today that her follow up album entitled ECHO will be released on
November 17th on J Records/Syco Music.

Spirit, Leona’s debut album has sold over 6
million albums worldwide since its release, earned three Grammy award
nominations, and was the best selling new artist of 2009.
In the U.S., Spirit debuted at #1 on the Billboard album chart, marking the first
time in music history that any album by a British female artist has entered Billboard’s Top 200 album chart at #1,
as well as the first time any British artist, male or female, has claimed the
top spot with a debut album. Spirit features chart-topping hit singles
“Bleeding Love,” the
best selling single of 2008 and iTunes top selling single of 2008, and
multi-platinum “Better In
Time.”

Leona Lewis is a 24-year-old London native and winner
of the hit TV show the X Factor, a
British talent show. Simon Cowell
tipped off Clive Davis to Lewis’ talent during the X Factor competition. For the first
time, Davis and
Cowell teamed up to sign Lewis to J Records/ SyCo Music (Cowell's joint venture
with Sony Music).

August 22, 2009

Take just a moment to really think about the health insurance industry.What other industry maximizes its profit through a business model structured
to screw its customers, let alone in a manner that puts its customers' health
and even very lives at risk? (OK, OK--the tobacco industry, for one., but humor me.)

Those who argue against rebuilding the nation's healthinsurance programs are doing a disservice to the well-being of allAmerican citizens, and in a very real sense, to the national securityof this country. After sponsoring untold billions of dollars spentbailing out banks, investment banks, and automotive companies, it's
time for the Obama Administration to focus on bailing out "we the people."

In spite of rhetorical and misleading hyperbole foisted on the American public by an insurance industry whose virtually unchecked monopoly over
the adjudication of health care claims would be compromised, there is a
legitimate argument in favor of increasing competition among insurers, and
every American citizen stands to benefit.

Rather than kow-towing to the self-interested, self-promoting, self-ishinsurance industry, which today has a vested interest in maximizing its
profit by rejecting legitimate medical claims, a public option would not
only provide much needed competition, but would undoubtedly force
private insurers to revisit their knee-jerk tendency to engage in zero-sum
profitability, where every dollar of care that is denied converts automatically to a
dollar of profit. Who among us, after all, hasn't had to endure a frustratingand seemingly endless series of arguments with their health care insurer in order
to get legitimate claims paid?

[August,
19, 2009 - CHICAGO,
IL] –
Oprah launches her 24th season of “The Oprah Winfrey Show” with
what she calls “the most anticipated music interview of the decade," a must-see
television event with singing icon Whitney Houston. This marks Houston’s first interview
in nearly seven years and follows the release of her highly touted new album, “I
Look To You” on August 31, 2009.
For more information about the album check www.oprah.com/whitney or www.whitneyhouston.com.

Since
her 1985 self-titled debut, Whitney Houston has built an illustrious career that
has generated over 170 million combined worldwide sales of albums, singles and
videos. Cited by the Guinness Book of World Records as music’s “most awarded
female artist of all time,” with an unsurpassed tally of 411 awards, inclusive of 6 Grammy Awards, 2 Emmy Awards, 23
American Music Awards and 16
Billboard Music Awards.
Houston remains
a singular force in music today.

"The
Oprah Winfrey Show" has remained the number one talk show for 22 consecutive
seasons, winning every sweep since its debut in 1986.** It is produced in
Chicago by Harpo Productions, Inc. and syndicated to 214 domestic stations by
CBS Television Distribution Group and to 143 countries by CBS Paramount
International Television.

Buffalo, NY—It goes without saying that our country has
fallen into tough economic times. With these hard times, many programs have
had to be cut in order to compensate for lower budgets. Programs at the
Albright-Knox Art Gallery have become victim to such budget cuts. All the
“Free Friday” programs that have been a hit during the summer
months with Albright-Knox patrons were unfortunately cut this year. The
most successful and highest attended of these events, The “Art of Hip
Hop,” was one program that lost its funding, but with the help and
support of the community and various cooperative marketing partnerships
this important community event will go on. The Art of Hip Hop
will be celebrating its fourth year at the Albright-Knox on August 28,
2009, honoring the history, creativity, and culture of Hip Hop. This free
event will highlight some of Buffalo’s most promising artists and
performers. Headlining this year’s event with be Billy Drease
Williams, recently awarded Best Hip Hop Act and Best Solo Act by the
Artvoice and Buffalo Spree respectively. Billy Drease Williams will be
performing songs from his highly anticipated full length album “Good
Morning Amy.” This year’s event will also include DJ Lo Pro, DJ
Cutler, B-Boy Depree and the DFC, Stockbridge, and Pseudo Intellectuals.
Local artists will also be creating large graffiti pieces on-site, weather
permitting. A slew of other community events will be presented throughout
the weekend as the “Art of Hip Hop Festival”; the full schedule
is available at www.dtr45.com. This
community favorite event would not have happened if not for the generosity
of sponsors who gave their support even in these tough economic times.
Sponsors of this event include DTR45, New Era, UB Student Association,
Buffalo First, The African American Cultural Center, Homespace, Sakura Art
Supplies, Demone Smith, Dude Nice Shirt, and Tomatoes Pizza.

All the papers lead with news that the battered global economy could finally be on the mend. The Washington Post and the New York Times both top their front page with yesterday's declaration from Federal Reserve Chairman Ben Bernanke that the economy appears to be "leveling off"
? his most upbeat assessment since the global meltdown began.
"Prospects for a return to growth in the near term appear good," he
told a gathering of economists and central bankers, adding that
aggressive action by governments and central bankers around the world
appeared to have successfully staved off the worst of the downturn.

The Wall Street Journal leads with news that sales of existing homes expanded by more than 7 percent
last month, the fastest rate in more than ten years, driving up global
stock prices and prompting hopes that the US housing market could be
stabilizing after years of decline. The Los Angeles Times puts a glass-half-empty spin on the news, noting that California's jobless rate reached a post-World War II high
last month, climbing to almost 12 percent; even if the national
recovery pans out as expected, the Golden State could be hurting for
years to come.

Aidin Vaziri, Chronicle Pop Music Critic ~ It's hard to get over the embarrassment of finishing fourth behind
Taylor Hicks in front of millions of "American Idol" viewers, but Chris
Daughtry has handled it better than most. Driven by a potent
combination of shame and unanticipated credibility, the 29-year-old
Christian rocker recovered from the upset by releasing one of the
best-selling albums of 2006 and a recent follow-up that this summer
ended Michael Jackson's beyond-the-grave chart reign. That doesn't mean
he's not mad about it.

Playing the Fillmore on Thursday as a warm-up for what promises to
be an endless arena slog behind the new release, "Leave This Town,"
Daughtry expertly glowered and groaned through a 75-minute set of
original material that greatly amplified the angst he brought to the TV
competition via pneumatic covers of Louis Armstrong's "What a Wonderful
World" and Johnny Cash's "I Walk the Line."

With his bald dome glistening with sweat, brow furrowed and face
constantly screwed up as if in pain, even the North Carolina native's
small-talk felt daunting. "We have a new album out," he said, pacing
purposefully across the stage. "I assume you have it."

Daughtry's own songs represent the butt-end of grunge, taking their
primary inspiration from third-generation Alice in Chains copyists such
as Creed and Puddle of Mudd. Chugging along on minor-key riffs and
crushing rhythms, tunes from the new album like "No Surprise" and
"Supernatural" sounded as if they could have been delivered here
cryogenically frozen since 1994.

"Leave This Town" feels more expensive than its predecessor, but
creatively it's also more anemic. As much hard-rock bluster Daughtry
and his band threw behind the new material on Thursday, it was the
familiar singles - MOR radio staples like "It's Not Over" and "Feels
Like Tonight" - that broke through the apocalyptic rumble of power
ballads and metal blitzes.

Even his most loyal fans seemed to agree. After the band delivered
its biggest hit, "Home," during the encore, the lobby filled up with
people who were ready to leave - the only catch was they had to wait
for Daughtry to deliver his last eardrum-bending song before they could
collect their souvenir posters.

September 2012

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